tv Piers Morgan Tonight CNN July 9, 2011 9:00pm-10:00pm EDT
they'll find their answers. >> that's all they can do is keep hoping. there was a glimmer of hope when jimmy keene was involved. maybe something else will still evolve out of this. maybe the things i've done and am still doing will shine a light and give them hope at some point. what man knows more about stardom than any other man on the plan? that man will be here tonight. >> hi, piers, it's me. >> andrew lloyd webber is the biggest, everything from "phantom of the opera," tonight, his life, his career, his muses and the stories behind some of his most unforgettable music. >> so i came up with this and it's a kind of tango. ♪ . . >> and the singer who is
storming charts, no, not lady gaga, 11-year-old jacqui evanko. ♪ >> this is "piers morgan tonight." have you seen the musical in the past 30 years it was probably one of andrew lloyd webber's creations. he's won 7 tonys, 4 grammys and pretty much every other award going. and he's a lord. greatest accolade of all. lord lloyd webber. >> it trips up the very best. i thought you did brilliantly. >> you've just been to the spider-man premier. >> yeah. >> which has been the subject of unbelievable media criticism the
last few months. how have they gotten themselves, do you think, into that position? >> i'm not privy to it but the producers who have been involved with it, many people who come from rock. and my guess is that the thinking behind it, it's not bad thinking this at all, my guess is is that they really are thinking of this as a long-term project for arenas, for rock places. therefore, they with perhaps looking at this as a bit of a lost leader. i think they got themselves into more of a tangle than they thought. >> how are they dealing with it? they're only used to unparallel success in the rock business. this has been by most people's argument would be it's been a bit of a turkey for them, which they're not used to. >> i was sitting behind them last night, practically next door, and they were really delighted. the reception from the audience was generally very, very good. >> from a musical perspective, how would you rate it? >> i'm not a critic and i never talk about other people. but you know, there were a couple of really good songs in
there. and the thing about it is, is that writing for the theater is actually quite specific. and you could write a really, really great song and it be in the wrong musical in the wrong place because musicals are really, really story driven. and, therefore, it isn't just a question of writing, you know, a really great song you can't just come up with "yesterday" or a "hard day's night" and be in the wrong place and wrong show and work it to work thee at trickically. i come at everything because i always start with a story. sometimes i get the story wrong, the wrong story and they don't work. if they do -- >> is the narratives key to longevity? >> yes, i think it is. you get an odd one. something like say "cats" which was a whole collection of poems by t.s. elliott and cats, his god children. that was great different. we stitched them together with a vague story that we discovered, that his widow had that he wrote
which was a sort of, forgiven the pun, the cat's cradle. that is where we started with that. that's the exception that proves the rule. say "superstar" or "phantom of the opera," they're all strong, strong stories. >> have you had a situation where they've got, it opens and the criticism is pretty heavy, everyone is saying this isn't going to survive, and then has gone on to be a huge hit? >> yes. i think although "evita" had been a big hit in london "evita" here had bad reviews. the mood changed. funny enough, i think that's an intriguing one because in the late pz 70s america was a little bit in denial about talking about anything political. i mean, you remember the time, after vietnam, and i remember writing the early days of the "evita" run we hit the -- at the same time of the russian invasion of afghanistan, which i don't think anybody really completely understood what was going on. for give me for talking about
afghanistan. i've gone off on a tangent. >> another time. >> suddenly people started talking about politics again. they said, maybe paralleled with what we were trying to say there was an interesting subject. >> how much have the critics gotten to you over the years? >> i don't really care very much if i don't think the critics really understand music. >> somebody that you respect, what is the most hurtful kind of thing they could say that would really get to you? >> i guess somebody who i did respect as a musician said that the score was humdrum or something, then i would be sad if i believed in the score. there are always going to be occasions where i think with musical theater, and particularly i think what i do in musical theater, it gets a little bit curious because i fit between sort of two camps. clearly the worst composer in history for "hairspray." i would be the worst composer in history, though i haven't seen it, i'm sure, for "book of mormon." yet, on the other side of it, i
am moere operatic for people wh think they are serious opera people. >> broadway is on fire, making a lot of money. what's that all about. some people say it's a success of "glee" on television, revival of musical to young crowd these days? >> i think the tell virks i've been involved with the television casting programs in britain. no question that does help. the fundamental thing is doesn't matter who you are or what you are that you do want to go out to some kind of live event and people like the idea. even if it's going to a restaurant. they can't just sit over their computers all day and play endless games and twitter all the time. people actually do like the thought of going to a space where they hear the reaction of other people. and they can hear, if you're part of a communal experience in the theater. >> many of your colleagues in the world of theater, you're not remotely snobbish about talent shows. you've been a judge on shows in britain. you've been a mentor to
"american idol." what is your view of them? can they produce bona fide a stars, do you think? >> of course they can. the real thing which i found in britain, more difficult to do here because it's such a big country that people think it's, if i live in san francisco why would i vote for a girl who might be going to the wt wizard of oz" or broadway. that's a different thing. in britd tan, much smaller, what we've been getting is kids coming up, particularly in the last program i did which was the "wizard of oz" coming from backgrounds where they would not remotely conceivably get to see me in an audition. >> you saw that on "american idol," you would see these kids who came from nowhere. >> i find that exciting, actually. i came on "american idol" possibly in a way that other people hadn't at that time. i always try and get the best out of them. if you've got somebody sitting there, you want to try and say to them, think of the words, just think, what is it your you're singing about. it's amazing what you can get out of people if you only let them have a try. >> when you watch a susan boil,
for example, what do you think of someone like her? >> susan boyle, i mean, of course i mean we all know. it was an extraordinary moment not just in television but one of the most exciting things that happened to a musical. talk about something out of the blue for them. extraordinary moment. and i would be careful what i say because i know her a little bit. i know all the people who work around her and with her. and she has got a really, really fabulous voice, which has come from nowhere. and never would have happened without television. i don't know that she would be able to sustain a role in a musical because i think that might be just keeping focused like that for a whole evening and doing eight shows a week is one thing. but people who said it never would work, it's certainly worked for the girl who is doing the "wizard of oz" and doing all the shows. >> later in the show we have jacqui evenko coming on. she again, she came on
"america's got talent." amazing voice. >> i heard a little bit about her because she sang one of my songs. >> that's right. >> i think my ex sarah wrightman sang with her. >> i wasn't judging sarah but they did a duet together on the show. it was incredible. you saw a 10-year-old girl almost hold her own with sarah, which i did not ever expect to see. >> i knew sarah was very impressed with her. a little bit worried about that and about "britain's got talent." you're not doing that anymore. you did it with a girl who sang it with a dog. i wasn't sure about that. >> hang on. >> this could be going a little far. >> take a little break. >> improved it. >> take a little break. i'm going to take you to that piano because i want you to we've a bit of your magic for me. take me on a trip down memory lane when we come back. >> i will try. [ male announcer ] introducing the ultimate business phone --
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>> maybe not the greatest but the most successful. >> how many people have watched it over the years? do you know? >> i don't know. it's extraordinary. it has -- it still is, i think, the highest grossing entertainment of all time. of course, it's apples and oranges really because if you show something in cinema and people are paying a lot less money than in the theater, of course. the "phantom," you're never going to get near again in a career, ever. >> people are fascinated by it. i am with you. how do these things come. you're a melodist at heart. how does a melody come to you? >> "phantom of opera" i'm a melodist but i'm also a theater animal. so stories are the things that come to me. but the story of "phantom" happened in a very roundabout way. when i was about to get married to sarah was offered a joking version of the story of "phantom of the opera" which was going to
be done at stratford. she needed to go to london in new castle and she didn't think the idea was good. they were going to use real opera. it came on and it was exactly that, it was wrong. i saw it with cameron mcintosh, the producer, and we thought maybe it would be a fun thing for us to produce. we didn't get any more than that. we thought we know the director who directed "the rocky horror show." it was the phantom come swinging and boo-hoo. >> so you have a concept. where does this music come from? >> to finish the story, he said no, he didn't want to do it. cameron and i forgot about it, completely. nine months later i'm in new york and there's a book fair going on in fifth avenue and as a copy of "phantom on the opera" i buy it. it cost 20 cents. buy the thing. read it. find the most confused story that ever happened but a love story.
something in there. it ended up saying when the phantom, whose body was exhumed for some reason, it was dug up and there was a ring on his finger and it was christine dire's ring. i thought, oh, my god. so it started. i wanted to write a high romance. this was high gothic stuff. >> physically, what do you do? you sit at a piano and you get this idea. how do you come up with these songs? >> the "phantom," the phrase -- for example -- ♪ i thought as a dark rock song. wasn't specifically "the phantom of the opera". in fact, the phrase went da-da-da-da, i changed it in the end to da-da-da-da. you see? these things evolve. but it's quite funny because we're coming up to the 25th anniversary of "the phantom of the opera" and we're going to do
a big concert in london to celebrate. i've been through the archive footage and everything and it's extraordinary how different how the first try out of the phantom we did to what ended up on stage. the songs were there but half of them went. >> tell me about "evita". that was another hit pap huge success on broadway and in london. we talked about how it didn't start. there's a great story "don't cry for me argentina." >> i was working on an extremely ill fated musical called "jeebs" which never saw the light of day. well, it did, unfortunately, for a brief time. i was so depressed doing it. tim came up with the idea about "evita." what we have to do is find a melody that becomes her anthem and then turns on her. as she's dying and i saw that happen on stage. i saw judy garland once in "the talk of the town" at the end of her career and she sang
"over the rainbow" and it was a travesty. i thought if i could find a song for "evita" after she turned on herself. so i came up with, after a while -- ♪ -- and it's kind of a tango. ♪ it started off in the show which was "don't cry for me argentina because i'm unimportant." that's how it began. three girls sang that early in the show. when it came out to the main moment when she comes out on the balcony, she came out to the words "it's only your loving returning, only the truth is i never left you." i said, tim, no. it's not da-da-da-da, anyway that's not really a great title. so we tried, my crazy and wild days, was one of them. ♪ all through my crazy and wild days ♪ ♪ the truth is i never left you ♪ then we said why don't we call it "don't cry for me argentina." it's a great title.
it doesn't mean that much. but for some reason the words and the title is such a good one that it just stuck and nobody ever asked that question. but for me. >> so it doesn't really matter then? >> of course it does. that's just a very, very one awful example. it's such a well-known song that people don't think it could possibly have ever had gone another way. >> where do the melodies come from? i've heard you tell me before that you can literally be walking down to your village store at your place in spain and a melody would come to you. >> yes. i wish i could tell you why. sometimes you get a melody that you work on and work on and work on and it doesn't come easily but you begin to think -- one of this is "tell me on sunday." i spent a long time on this one. ♪ trying different phrases. trying to take it different directions. a song which was hugely successful song of mine but not
so well known in america. but i had a very, very big hit with a song called "no matter what." i'll play it quickly or simply, rather. ♪ that was the tune of that. ♪ statistically that's one of my biggest ever. ♪ i wrote that. what i was doing was ticking around the piano, which i often do. >> can you literally get the whole thing in your head? >> sometimes it comes like that. what also happens you're sitting at a piano and going just playing around which i often do just for the sake of it. i come up and say -- ♪ suddenly you go -- ♪ >> do you feel ike like a eureka moment? >> i had been sometimes gone off, gone to the frigid and opened a glass of wine. what was that? i come back.
>> you write it down. >> i do. as i'm getting older i now always take a little music pad around with me. because in the old days if the tune was any good i would remember it. that happened with "jesus christ superstar." >> hold that note. when we come back i want to talk to you about the big musical that lifted you particularly here in america, "jesus christ superstar." get the ball, girl. hmmm, you can't do that. but you can do this. bengay pain relief + massage with penetrating nubs plus the powerful pain relief of bengay. love the nubs!
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♪ jesus christ superstar ♪ do you think you are what they say you are ♪ ♪ jesus christ superstar ♪ do you think you are what they say you are ♪ "jesus christ superstar," the music that propelled you into the stratosphere. very controversial at the time. of course this mormon, the musical is exploding and winning tonys. >> i don't know. maybe you can't, maybe some people these days you can't really shock people maybe.
but we never wrote "superstar" to be in any way shocking. we wrote it because we wanted to write the story of the man. in fact, we really wanted to write a love triangle because the whole thing, was judas ascariot have god on his side? which bob dillon and i did. did jesus get betrayed. what's very thrilling for me is that this production up in canada. it's really the first time that i've seen the love triangle absolutely tackled broadside. >> you've created these amazing musicals. in '76, i think it launched. even now people are doing new versions of them that can dazzle you. >> it depends on the quality of the actors and performers. this one happens to be very well acted. "superstar," nobody was interested in doing it in the theater when we started. so we did it as a record.
all we did move was the "dream coat." everyone thought we should do moses. so we did another one. we thought we looked at that. one time "jesus christ superstar" was going to be ♪ samuel samuel this is the first book of samuel ♪ >> that true? >> yes. >> one song was "kansas morning." ♪ i long for kansas morning her dreadful line. ♪ i see you now ♪ you're flying high ♪ kansas on my brain ♪ i'm trapped in maine i mean, really. >> i know it's a bit like asking which is your favorite child. which of all the musicals is your personal favorite of yours? >> oh, difficult one. i'm very fond of "sunset boulevard."
>> that's my favorite. >> but in one sense i think it's one of the most complete ones i've done. "phantom of the opera" i'm very fond of. >> i love that moment when norman comes down the stairs. i love that. to me it's one of the most powerful of any musical i've ever seen. ♪ yeah. ♪ >> wonderful moment, it's a gift. when the guy says turn the lights on. the lights come together. that is a genuine overactive moment. >> she was fantastic. >> wonderful thing. superb actress. the fact that she wouldn't really consider herself to be a great singer but it didn't matter because she -- he held the stage like nobody else. >> michael jackson wanted to play the phantom. >> yeah. he wanted to play the movie. i mean, i thought carefully
about talking about this, especially after his death. it sounded like i was jumping on the bandwagon a bit to talk about it then. it is true. he came to see it several times. he came to see it here in new york. >> did you speak to him about it seriously? >> yes. but the film was at that point so far away down the line, people in those days were very worried that a film if it was made would destroy the broadway or the west end show, everybody would just go and see the movie. it's been completely the other way around. if you make a movie it's a great help for the theater. goodness knows what it would have been like. >> he would have been incredible, wouldn't he? >> i think he would. there's another person who really wanted to do it but he died. this was a long time ago. sammy davis jr. >> he wanted to play the phantom? >> he wanted to play the phantom. everybody was a little bit -- they were a bit frightened about it because i suppose he could have been taken the wrong way.
but i did really want to do it. one of those funny things that you get categorized people. because i suppose he was a generation slightly before mine, i always thought of him as a cabaret singer and i didn't think very, very much of him. i didn't know. well, liza minelli who is an old mate of mine in the south of france who said, you've got to come and hear sammy davis. fine. i have never felt so ashamed in my life. for 2 1/2 hours i had heard one of the best performances as i've ever heard. and he ended up doing the music of the night. i'll never pre-judge anything. you can never tell. >> who of all the performers you had, if you could relive one moment live again that you've experienced of all these shows, all the opening nights and everything, which one sticks most in your memory? >> it's difficult, really.
i suppose, funny enough, "memory" on broadway was an extraordinary moment on the the first night there when betty buckley did it. the big moment when he gets to touch me. ♪ the whole audience applauded. just across it. >> wow. what were you thinking when that happened? >> i did think that's fairly extraordinary. robert stigwood, people remember, used to manage me. he ran down the aisle and said, andrew, you've done it. that was a great moment. now people run the other way. >> that leads me neatly to the irresistibility to women. what do you put this down to? you've had a series of beautiful wives. >> i'm not sure. i think sarah brightman and i had a great rapport through music, and that -- music says is a lot of things. there are a lot of people i
think who should really love music, but people who do, then you can talk a lot about it. there's a lot of artists. >> do women find musical genius sexy? >> i don't know. because i don't think i am one. i do know you can sort of play -- >> you're being absurdly modest. anyone that can conjure up these kinds ofmelodies and become anthems around the world, that is genius, isn't it? >> i don't know. maybe that i have a good ear for tunes. >> who do you think is a musical genius who is alive today? >> today? >> well, i'm so really obsessed with melody. i prefer to say that i think, look at the last century, say richard rogers, i think, was absolutely a genius. gershwin was. anybody who can do --
♪ -- for a cat. sums up a cat in exactly four bars which took me 2 1/2 hours to do. he's a genius. i think of the living composers who are around now. i really, really think paul mccartney. some of mccartney's melodies are just sublime. >> take another break. when we come back we'll talk about you are the world's gre greatest levite. you don't have a computer, you don't drive a car, you don't have a mobile phone. >> i've had two. >> had you really. >> i'll tell you about it. >> everything has changed. play us another one of your songs. >> what shall we have? let's think. ♪ >> oh, love this. ♪ [ male announcer ] this is lisa, who tries to stay ahead of her class. morning starts with arthritis pain... that's two pills before the first bell. [ bell rings ] it's time for recess... and more pills.
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♪ that was from your new musical which is a revival of the musical "wizard of oz" of course, which wasn't yours. how do you decide what to choose to revive? how do you work out what you think will catch on for a modern audience? >> i've been doing these tv casting series back in britain. the trick is you have to find a character to cast the public knows. the role of dorothy is something that everybody knows. we started with that. interestingly with "oz" it's never work in the theater before. we looked at it very carefully. what people have been trying to do is stage the film whereas what you had to do was go back and rethink it. therefore, we discovered no song for the wizard, no song for the wicked witch, no song for the good witch.
i got permission from warner brothers who control it nowadays that i would write some new songs. so i asked tim. after 30 years -- >> dream team. >> we're back together again. >> very exciting. >> it's been good fun. >> like mccartney. you can't live with each other or without each other. >> i don't know. we're in constant touch. we were planning to do "jesus christ superstar" as an arena tour next year. now that this production has happened at stratford. i can't do it without tim. tim is not interested in the production side of thing as i am. i just love the theater. >> you love his words. he's a great fit. >> timmy is a great lyricist. >> in terms of other revivalrev there is talk about "evita" coming back. >> "evita" is coming back. >> any idea who the star is in this? >> i've told ricky martin is playing che. i've not been involved with the
production. it's a production in australia. which is fantastic. everything that the london production isn't. i'm not involved with either. >> are they coming up with the problem here, andrew? >> i'm not being involved with it. i'm beginning to think it's up to the village i live in. >> fascinating. you don't drive a car, right? you don't -- >> not anymore. >> you don't have a mobile phone, cell phone. >> no. >> you don't use e-mail? >> no. >> i have sent an e-mail. i sent one e-mail in my life to nicole. >> saying what? >> i can't remember now exactly. said something. i bought this ipad. probably doesn't work. >> can you use the ipad? >> it doesn't work. >> you don't know how to use it. >> i've been to australia with thing. here. to los angeles. i've been all over the place. i've been to london, bristol, you think it might work. doesn't connect up. >> could it be you that's the problem, andrew, not the ipad? >> no.
i've given it to other people and it won't connect up. it's this particular ipad. >> you also appear to send your daughter a tweet last week, a tweet. >> i know. >> this has to do with the ipad. it wasn't actually me. i dictated the tweet. >> you know the vocal coach who was on your program. >> "america's got talent." >> old friend of mine. i'm sitting in the studio is ridiculous tweet coming through. i just said, only girls got anything better than sitting tweeting all day. it seemed to have caused an uproar. i'm very fond of evie. great vocal coach. >> she's amazing. she's worked with jackie and everybody. >> she's a key player. she worked with me on the album "love never dies" and got results from the singers that i've never heard from anybody else. >> if you were casting the all time dream musical, who would you want standing on that stage? >> elvis. >> who else?
>> elvis would be great in a musical, wouldn't he? any musical. do you know, i would have loved gone back to n. time and worked with somebody like mary martin who is a consummate pro. >> sinatra? >> sinatra, he obviously -- he didn't do a stage musical. didn't he? a lot of film musicals. i would have loved to worked with him. i think of all the people and i'm so lucky to have worked -- glenn close, i think, would be very hard, very hard to follow. >> you've had many surreal moments in your life and you've met everyone in the entertainment world. what's been the most surreal kind of pinch me moment in your life, for you personally? >> most surreal. i don't know. it's a difficult question to answer. >> were you in a hotel bar in los angeles, sinatra and dean martin? >> that was a little strange. it was about 3:00 in the morning. i don't know why. in the bar in peninsula in l.a. i come down to the bar.
i got a night cap. i was on british time and you know how you get a second wind when you're on british time you get a second wind. in the corner is frank sinatra. he says that's andrew lloyd webber over there. great privilege to meet frank sinatra. seemed to be a great idea to have a cocktail at the time. so i sat down and joined him and it was all fine. couple of drinks. suddenly he turns to the waiter and says bring me the grand piano. the grand piano was wheeled across the whole bar of the peninsula. i don't remember what i played. i mean, it was -- >> you played and he sang? >> i think so. >> what a moment. >> i think so. >> in the hotel bar of the peninsula in l.a., you and sinatra. >> i don't know how surreal it was. >> apparently you were so drunk neither of you remember. >> i think i bleerly got through "my way." >> you've certainly done it your way.
i wish you good luck with all of youred ed adventures, as always. >> thank you for asking me. >> coming up, the singer who is tearing up the charts she's 11 years old, the incredible jackie evancho. ♪ it's actually a connecting rod coming out to the side of the block this is a big piece of the engine block that was blown off. it's not because they ran it out of oil. they didn't change the oil. as your engine produces different particulants, you want to pick that up and take it down to the oil pan to the oil filter. so the moral of the story is, if you don't want to see your engine in a commercial with me and jim, make sure you get the works done. the works. oil change, tire rotation, $29.95 or less after rebate. only at your ford dealer. this good. this not it's schwab at your fingertips wherever, whenever you want. one log in lets you monitor all of your balances
and transfer between accounts, so your money can move as fast as you do. check out your portfolio, track the market with live updates. and execute trades anywhere and anytime the inspiration hits you. even deposit checks right from your phone. just take a picture, hit deposit and you're done. open an account today and put schwab mobile to work for you. welcome. i understand you need a little help with your mortgage, want to avoid foreclosure. smart move. candy? um-- well, you know, you're in luck. we're experts in this sort of thing, mortgage rigamarole, whatnot. r-really? absolutely, and we guarantee results, you know, for a small fee, of course. such are the benefits of having a professional on your side. [whistles, chuckles] why don't we get a contract? who wants a contract? [honks horn] [circus music plays]
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♪ that is one of the most extraordinary performances i've ever seen on "america's got talent." that was incredible moment in the young life of my next guest and pretty incredible moment for me, to be honest, the moment when jackie evancho's career exploded. she was the runner-up on the fifth season of "america's got talent." she made an impact. she has a new album, which is destined to be number one in the
charts. jackie is here now with the legendary producer david foster. david, welcome. jackie, how lovely to see you again. >> i can't believe i'm here again. i'm so happy to see you again. >> we had quite a little journey together, didn't we? >> yeah. >> because the extraordinary thing about you, is you didn't even come to a normal audition show like most of the contestants. we did this extra show, a youtube show, send in your clips to you tube and the first time i saw you was a live "america's got talent" show in front of 15 million people, and you were completely nerveless. you just showed so much confidence. what were you actually feeling when you came out? >> i was actually feeling, please do not mess up, this is my big shot. you know, i really wanted to get it. >> where does that voice come from because you don't have a voice of a normal -- how old are you now? >> i just turned 11. >> 11-year-olds shouldn't sing like you. where do you think this voice comes from? >> i believe that it comes from
god. and if not, then just a musical family with great supporters and all. >> you're they're very protective of you. david, you've worked with the greatest singers on earth. how does jackie rank, given her age do you think? >> you know, to say that she is at the top of the heap would be an understatement. and you're right. i've had the great luxury of working with a lot of singers from celine and streisand and whitney and madonna even. jackie, you said it, she's fearless. i'm an avid watcher of america's got talent. so i just got to enjoy it as a person, not as a musician. didn't know that i would be producing her album. it electfied the whole country. it's amazing. >> the momenty remember most was when you sang a duty with sarah brightman, and you held your own. she's one of your heroes, i know. i was amazing for you. it was for us because it was hard to tell who the professional singer was. you were so good that day.
also you have a lovely giggle. you giggle a lot. you find all this quite funny, don't you? >> yeah, i do. >> who are your favorite singers? david's worked with them all. >> i have to say i've never really said this before because it's something that's abnormal to be -- for a 11-year-old to say. but i really do believe that barbara streisand is a really really great singer. and i'm really really happy i did a duet with her. but i also love lady gaga a lot. >> what about susan boyle? because she also came from a talent show "britain's got talent". i was there for that, as well. >> you sang a duet with her as well. >> yes. >> normal children your age they go to school and do their homework. and all that kind of thing. what's your life like? >> my life is kind of a back and forth thing. my parents do a great job with managing it. they have me performing a lot. and when i'm at home, i mean, they don't have me performing a lot. but when they have me perform, they make it fun. and when i'm done performing i
go home and i kind of live a normal life which is great for me. >> and there are strict rules, too, about how late she can stay up. they're very good about that. >> in terms of her potential, david, you've got an 11-year-old girl here silling millions of albums already. how far could jackie go, do you think? >> she could go either direction in terms of pop or opera. because she has a great understanding of both not unlike andre bocelli. if she wants to be the greatest female opera singer of our time, of this new generation, i think that's what she could be. i think she'll be that and then some. >> it's true. >> no pressure. >> yeah, no pressure. >> do you ever get nervous now or not? >> i get a lot more nervous -- i do get nervous. i get very nervous especially with the big one, the big performances. >> we couldn't be happier for you, jackie. it's an amazing thing. you've got a voice of an angel as we said in the show. and i'm very excited now because you're going to sing. david's going to play the piano. these are going to be tracks from your new album, is that
right? >> yes. >> good luck. thank you for coming on. lovely to see you again. >> to see you, too. the better you get the better you make me look as a judge. lovely to see you, jackie. ♪ [ male announcer ] every day, thousands of people are choosing advil. here's one story. my name is lacey calvert and i train professional athletes with yoga. i know how my body should feel. if i have any soreness, i'm not going to be able to do my job. but once i take advil, i'm able to finish my day and finish out strong. then when i do try other things, i always find myself going back to advil. it really works! [ laughs ] [ male announcer ] make the switch. take action. take advil. [ male announcer ] make the switch. helps defends against occasional justconstipation, diarrhea,alth probiotic cap a day gas and bloating. with three strains of good bacteria to help balance your colon. you had me at "probiotic." [ female announcer ] phillips' colon health.
right now a special performance for this show. jackie evancho and david foster. jackie, what are you going to sing for me? >> i'm going to be singing a song called "angel". >> what else? a little angel singing "angel." ♪ ♪ spend all your time waiting for that second chance for a break that would make it okay ♪ ♪ there's always a reason to feel not good enough and it's hard at the end of the day ♪ ♪ i need some distraction, oh,